×

Box Office: ‘Gravity’ Pulls Down Record Hold, With $44 Mil; ‘Captain Phillips’ Scores $26 Mil

3D share for Warner Bros.' space odyssey rises to 82%

As one of the biggest box office phenoms in recent years, Warner Bros.’ “Gravity” displayed outstanding pull with audiences in its second frame, dropping just 21%, with an estimated $44.3 million. Pic’s hold is the best-ever (during a non-holiday) for a film that opened to $55 million-plus domestically.

Gravity” — which also scored the largest second weekend for Imax, with $9 million — soared to a boffo $123.4 million Stateside through Sunday.

Globally, the 3D space epic has amassed north of $190 million, with overseas contributing $68 million and counting.

In spite of the fantastic domestic hold for “Gravity,” Sony’s similarly adult-targeted “Captain Phillips” performed exceptionally well, grossing an estimated $26 million. The film’s debut is higher than “Argo,” which bowed this same weekend last year, with $19 million.

PHOTOS: Tom Hanks at the Box Office

Captain Phillips,” starring Tom Hanks as the real-life captain of the ship Maersk Alabama, who was held hostage by Somali pirates, received an ‘A’ CinemaScore — better than “Gravity,” which garnered an ‘A-‘ last weekend.

“With ‘Gravity’ in the market, an opening like this for ‘Captain Phillips’ speaks volumes to its potential longevity,” said Sony worldwide distribution prexy Rory Bruer. “I think Tom’s performance is one that everyone will want to see.”

Popular on Variety

For “Gravity,” which stars Sandra Bullock and George Clooney, 3D boosted second frame totals in a big way: The film’s overall share in stereo actually rose to 82%, up from 80% during opening weekend. “Gravity” is experiencing stellar repeat business, driven by premium formats, including Imax 3D and other large-format presentations.

Imax has committed to playing “Gravity” on the majority of its screens through October. “Captain Phillps” screened this weekend on 45 Imax screens, averaging a modest $10,000 per screen.

Interestingly, neither “Gravity” nor “Captain Phillips” was able to prevent weekend totals from trailing this time last year, when three films (including “Argo”) opened to north of $10 million. “Taken 2” led in its second frame with $22 million.

This year, there were only three films which grossed more than $5 million — “Gravity,” “Captain Phillips” and “Cloudy With a Chance of Meatballs 2,” with an estimated $14.2 million. In three weeks, the Sony toon has grossed $78 million domestically.

The weekend’s top players received very little support from the other wide release, Open Road’s “Machete Kills,” which opened to a dismal estimated $3.8 million. Pre-weekend tracking projected the sequel, which Open Road paid $2 million to acquire from Aldamisa Entertainment, would gross between $8 million and $10 million.

Domestic

Film (Weeks in release): 3-day gross*; Locations; Per-theater average; Cume*; Percentage change

  1. Gravity (2): $44.3; 3,660; $12,094; $123.4; -21%
  2. Captain Phillips (1): $26.0; 3,020;j $8,609; $26.0; —
  3. Cloudy With … Meatballs 2 (3): $14.2; 3,874; $3,665; $78.0; -32%
  4. Machete Kills (1): $3.8; 2,538; $1,496; $3.8; —
  5. Runner Runner (2): $3.7; 3,026; $1,231; $14.1; -52%
  6. Prisoners (4): $3.7; 2,855; $1,284; $53.6; -36%
  7. Insidious Chapter 2 (5): $2.7; 2,156; $1,229; $78.4; -32%
  8. Rush (4): $2.4; 2,130; $1,110; $22.2; -47%
  9. Don Jon (3): $2.3; 1,996; $1,172; $20.1; -44%
  10. Baggage Claim (3): $2.1; 1,320; $1,572; $18.3; -49%

Overseas

Film (Weeks in release): 3-day gross*; Territories; Screens; Int’l cume*; Global cume*; Percentage change

  1. Gravity (2): $28.0; 38; 5,700; $68.0; $191.4; -1%
  2. Stalingrad (1): $15.5; 2; 1,570; $15.5; $15.5; —
  3. Despicable Me 2 (17): $10.1; 40; 2,500; $522.1; $885.2; +102%
  4. Cloudy With … Meatballs 2 (3): $9.1; 32; 2,900; $21.4; $99.4; +15%
  5. Prisoners (4): $7.4; 42; 1,000+; $22.6; $76.2; +30%

*in millions of $

More Data

  • Arturo Guillén

    Arturo Guillen: An International Vision for a Global Business

    MADRID  — In 1996, when still at high school, Spain’s Arturo Guillen, having flunked some exams, took a summer job at Entertainment Data Inc.(EDI), which had just set up in Spain, intent on delivering computer-collected box office results to distributors. Cinema theaters would start relaying results from 10 pm, Guillén recalls. Sometimes the computer froze, [...]

  • India, South Korea Lead Surge in

    India, South Korea Lead Surge in Asian Production, Rights Spending

    Spending on film, TV and online video content in Asia grew by 12% in 2018, a significant leap from 8% the previous year. The strongest growth came from India and South Korea, with Indonesia and Vietnam following. Data from the latest edition of Asia Video Content Dynamics, published by research and consultancy firm Media Partners [...]

  • Pride Parade and Festival in Salt

    New Study Shows Decline in LGBTQ Acceptance Among Young Americans

    A new study from GLAAD shows a significant decline in LGBTQ acceptance among young Americans aged 18-34. In a national survey among U.S. adults called the Accelerating Acceptance Index, the percentage of young Americans reporting being “very” or “somewhat” comfortable with LGBTQ people across seven scenarios dropped from 53% to 45%, marking the second consecutive [...]

  • Majelan

    French Podcast App Majelan Launches With 13 Million Audio Episodes Across 50 Countries

    While the podcast space is heating up with a variety of players including Apple, Audible, Spotify and Luminary, a smaller-yet-promising French app called Majelan is rolling out across 50 countries with an international library of 280 000 audio series, or 13 millions episodes, in 15 languages. Majelan is also kicking off with 20 original or [...]

  • Globe Centred On Asia And Oceania,

    APOS: Online Video Headed for 15% Annual Growth, Disrupting Asia Markets

    A blistering 15% annual growth of online video will give the Asian video industry (TV, pay-TV, home entertainment and streaming) a growth rate nearly double that of North America for the next five years. According to a new report from Media Partners Asia, published on the eve of the APOS conference in Indonesia, Asia’s online [...]

  • FICCI-Frames: Digital Growing, But TV Still

    FICCI-Frames: TV Dominates India's Entertainment Sector (Study)

    India’s creative industries sector, comprising television, film, OTT and related industries had an overall market size of $23.9 billion in 2018 and is projected to grow 12% to reach $33.6 billion by 2021. That is according to the annual EY report released during the Frames conference in Mumbai, organized by the Federation of Indian Chambers [...]

  • Editorial use only. No book cover

    European Cinema Admissions Down 3.3% in 2018, but Hit 1.25 Billion for Fourth Year in a Row

    European cinema admissions hit 1.25 billion for the fourth consecutive year in 2018, despite dropping 3.3% from the record level set in 2017, according to figures released Wednesday by the International Union of Cinemas, or UNIC. Total box office revenue across Europe hit at least €8 billion ($9.1 billion), also for the fourth year running. The figures [...]

More From Our Brands

Access exclusive content